Category: Advanced and Experimental 3D Computer Animation Techniques

Conflict = Drama = Story

A story begins with a character’s expectation or desire.

They face reality / obstacles, which generates internal and external conflict.

Key concepts using the SWBST model:

Somebody: Who is the protagonist driving the story?

Wanted: What is the character’s goal or motivation?

But: What conflict or obstacle do they encounter?

So: What action do they take to overcome it?

Then: How is the story resolved? What changes in the character or world?

Assignment:

Work in pairs to create a 30–45 second cinematic Previs scene with the theme “Hunter to Prey.”

Use two or more characters to depict a dramatic power shift.

Our Group’s Concept:

The short, fat character (the drunk) starts as the prey.

The tall, thin monster is the hunter, trying to catch the drunk.

Twist: The drunk suddenly grows in size and defeats the monster, reversing the power dynamic.

Summary
The first two weeks helped us:

Camera Language: Learn to use focus, movement, and framing to guide the viewer’s eye and enhance storytelling.

Story Structure: Understand character motivation, conflict, and power dynamics using SWBST.

Assignment Practice: Transform storyboards into Maya camera animations and use cinematic techniques to convey dramatic shifts.

What we learned: Camera Language and Cinematic Techniques

In Week 1, the focus was on how camera choices affect storytelling and how different cinematic techniques guide the audience’s attention. Key concepts included:

Focus / Depth of Field

Deep Focus: The entire frame is in focus, allowing viewers to explore the scene and discover details themselves.

Shallow Focus: Focuses only on the subject, creating a “tunnel vision” effect to direct audience attention.

Rack Focus: Smoothly shifts focus between subjects to guide the viewer’s eye through the 3D space, following the scene’s logic.

Focal Length, Geometry, and Camera Movement

Dolly-Zoom: Shows a character’s world shifting or sudden psychological horror.

Handheld Camera: Gives a gritty, realistic feeling, making viewers feel like eyewitnesses.

Whip Pan: Connects Point A and Point B visually, suggesting cause-and-effect without a cut.

Establishing Shots: Provide an omniscient perspective and emphasize scale or pattern.

Arc Shots: Make the character the visual center, detaching them from their surroundings.

Assignment:

Choose one version of a buddy’s storyboard and animate it in Maya using the provided scene and character.

Adjust the scene if necessary to better fit the camera storytelling.